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| Casey Affleck | ... | Gerry | |
| Matt Damon | ... | Gerry |
Directed by | |||
| Gus Van Sant | |||
Writing credits(WGA) | ||
| Casey Affleck | (written by) & | |
| Matt Damon | (written by) & | |
| Gus Van Sant | (written by) | |
Produced by | |||
| Jay Hernandez | .... | associate producer | |
| Dany Wolf | .... | producer | |
Original Music by | |||
| Arvo Pärt | |||
Cinematography by | |||
| Harris Savides | |||
Film Editing by | |||
| Casey Affleck | |||
| Matt Damon | |||
| Gus Van Sant | |||
Makeup Department | |||
| Chris Burgoyne | .... | special makeup effects artist | |
Production Management | |||
| Diego Conejero | .... | production manager: Argentina | |
| Jen Wall | .... | production supervisor | |
| Dany Wolf | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Sally Sue Beisel | .... | second assistant director | |
| Dany Wolf | .... | assistant director | |
Sound Department | |||
| Felix Andrew | .... | sound mixer | |
| Todd Beckett | .... | sound re-recording mixer | |
| Stuart Deutsch | .... | boom operator | |
| Goro Koyama | .... | foley artist | |
| Andy Malcolm | .... | foley artist | |
| Tim Rakoczy | .... | assistant sound editor | |
| Leslie Shatz | .... | sound designer | |
| Leslie Shatz | .... | supervising sound editor | |
| Don White | .... | foley recording mixer | |
| Rebecca Wright | .... | foley assistant | |
Special Effects by | |||
| Joshua Kornoff | .... | special effects technician | |
Visual Effects by | |||
| Syd Dutton | .... | special visual effects: Illusion Arts | |
| Janos Pilenyi | .... | optical supervisor | |
| Bill Taylor | .... | special visual effects: Illusion Arts | |
| Mamie McCall | .... | visual effects coordinator: Illusion Arts (uncredited) | |
Camera and Electrical Department | |||
| Chris Blauvelt | .... | assistant camera | |
| Mike Blauvelt | .... | third assistant camera | |
| Anthony Cady | .... | grip (as Tony Cady) | |
| Christian Davidson | .... | grip | |
| Drew Davidson | .... | grip (as Andrew Davidson) | |
| Jamie Franta | .... | grip | |
| Alice Gu | .... | assistant camera | |
| Pablo Gómez | .... | second assistant camera | |
| Mark Hyde | .... | grip | |
| Jim Kwiatkowski | .... | key grip | |
| John Mang | .... | dolly grip | |
| Jason McCormick | .... | assistant camera | |
| Brady McElroy | .... | grip | |
| Matías Mesa | .... | Steadicam operator | |
| Bud Scott | .... | best boy grip | |
Editorial Department | |||
| Lilah Bankier | .... | assistant editor | |
| Don Ciana | .... | color timer | |
| John Dowdell | .... | hd colorist | |
| Patricia Sztaba | .... | negative cutter | |
| Stan Sztaba | .... | negative cutter | |
| Joe Violante | .... | dailies advisor | |
| Paul Zucker | .... | associate editor | |
| Cory Ginsburg | .... | assistant editor (uncredited) | |
Other crew | |||
| Jeff Eveleth | .... | production assistant | |
| Trinette L. Faint | .... | assistant: Mr. Damon (as Trinette Faint) | |
| Roger D. Faires | .... | location manager | |
| Danielle Fenati | .... | production assistant | |
| Joeby Gibson | .... | production assistant | |
| Andrew K. Hodge | .... | location manager | |
| Mary Jasionowski | .... | production accountant: Los Angeles | |
| Damon Zwicker | .... | production assistant | |
Thanks | |||
| Bobby Bukowski | .... | thanks | |
| Ken Kesey | .... | in memory of | |
| Béla Tarr | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Adventure section | IMDb USA section |
"Desert Seinfeld,' where it is really about nothing and nothing really happens. It's Gus Van Sant's `Gerry,' not for Jerry Seinfeld, but for two young men, both named Gerry, who get lost while taking a hike on the `Wilderness Trail.'
Comparisons to Beckett's `Waiting for Godot' and Antonioni's `Passenger' will occur the minute you see Casey Affleck and Matt Damon striking out to see a `thing' somewhere on the trail in an arid Arizona or South Dakota (although expertly filmed in Argentina and Utah). The only way the DP could improve on the landscape was to time-lapse clouds and sunrises, and do some slick digitizing when a character jumps from a very high rock.
The long takes are spectacular, especially when Damon tries to extricate Affleck from the top of that `no-exit' rock. I was as pleased with the static camera and minimal editing as I often am with the realist work of Mike Leigh, who usually has much more dialogue than this minimalist film. In fact, except for the tinkling piano and violin coming in 3 times, `Gerry' could be a `Dogma' candidate.
Van Sant has directed an existential piece to rival last year's `No Man's Land,' about the Bosnian soldier imprisoned on top of a spring-loaded land mine. Van Sant here questions the men's understanding of themselves or each other (their 'f**k you's' are lightly given and taken and they see one of themselves in a mirage).
By the end of the journey, they have been appropriately humbled by a powerful Nature that threatens with distant thunder but never delivers water or lightning. Whatever the `thing' they set out to find, like Estragon and Vladimir in `Godot,' they do find the essential elements of life-birth, love, and death.
That's pretty good for a film with no more than a paragraph of dialogue in all. This is one of those films that make a patient man of me and drives my plot-driven friends back to Ahnold.